1. 9-19

2. Photo Definitions Graphic Design and the Industrial Revolution Key Terms and Definitions: Heliogravure: “sun engraving” method developed by Joseph Niepce using a pewter sheet covered in bitumen of Judea, a light-sensitive asphalt, contact printed. D. 1826

3. Graphic Design and the Industrial Revolution Key Terms and Definitions: Daguerreotype: Photographic process developed through the collaboration of Louis Jacques Daguerre and Joseph Niepce, it used a highly polished silver-plated copper sheet that was sensitized by placing it, silver side down, over a container of iodine crystals. The plate was placed in the camera and exposed to light coming through the lens to produce a latent image D. 1839

4. Photogenic Drawings: Images made by William Henry Fox Talbot without a camera by holding a piece of lace or a leaf tight against light-sensitive paper with a pane of glass and exposing it in sunlight. Now called Photograms: A term used today to describe images made by holding an object over photographic paper and exposing it to light, creating a negative image Lazlo Moholy-Nagy (surrealist artist who adopted integrated the use of the photogram in his work)

5. Photo Definitions Graphic Design and the Industrial Revolution Key Terms and Definitions: Calotype or Talbotype: From the Greek kalos typos meaning “beautiful impression,” developed by William Henry Fox Talbot, it allowed greater light-sensitive paper.

6. Photo Definitions Graphic Design and the Industrial Revolution Key Terms and Definitions: Negative: A a term coined by Sir John Herschel to describe a reversed photographic image. Positive: A term coined by Sir John Herschel to describe a positive image made by contact printing the reverse image to another sheet of sensitized paper in sunlight (Fig. 9 - 25). Photography: From the Greek photos graphos meaning “light drawing,” a term coined by Sir John Herschel to describe the photographic process.

7. 9-40- pencil of nature example

8. 9-26A

9. 9-29 Freedmen

10. 9-30

11. 9-37-Brady

13. 9-27

14. 9-39

15. The Advent of Graphic Design D. 19th Century Majority of printed materials such as posters and books were not “designed”. Little attention was paid to composition, drawing and color Most books and posters were drawn up by “job printers” DEFINITIONS Job printer- a person who operates the industrial machinery of publication

16. The Siege of Troy. 1833 Advertisement. Letterpress and woodcut

17. The Arts and Crafts Movement William Morris (1834-1896) Fist to recognize the goods produced from the advances of industrial revolution lacked artistic merit. “the urban environment need not be filled with such downright ugly objects.” Dedicated his life to bettering the quality of British design. Decorative arts were credited with not just the ability to “prettify” the urban world but also to lead to an actual transformation of modern society that benefited people’s lives in all respects.

18. The Arts and Crafts Movement William Morris (1834-1896) Found greatest success in the manufacture of stained glass…(embracing the medieval period) Above. Minstrel with Clarinet stained glass. 1870 DEFINITIONS Histriocist - Revives a style from the past. In this case Medieval period.

19. The Sussex Chair (1875) William Morris (1834-1896) Simple, elegant aesthetic. Clean lines and well balanced Proportions without indulging in excess ornamentation. Response to contemporary fashion for elaborate ornament In “shoddy mass-produced goods.” Sussex Chair was a design fit for skilled craftsmen, not steam driven machines.

20. French Art Nouveau While Morris looked to the past to to embrace style…other artists thought they should create new styles for the new, industrial world. “ New Art” or “Art Nouveau” - (D. 1885) Umbrella term to designate the various design movements of the late 19th century in Europe and U.S. Fresh visual representations that celebrated vibrant pulse of urban life. 1.Jules Cheret 2.Aphonse Mucha 3.Theophile Steinlen 4.Toulouse-Lautrec

21. Jules Cheret (1836-1933) Chromolithogrpahy - Color image is produced using the principle that oil and water resist one another. Cheret worked out a process that allowed him to create brightly colored posters with a wide range of hue, value and intensity. Secret to his success was the fond Gradue “graduated stone” that he added to the traditional black and red impressions. com/36ziwbs/t/Toulouse-Lautrec

22. Leonetto Cappiello (1836-1933) com/36ziwbs/t/Toulouse-Lautrec

23. Alphonse Mucha (1860-1939)

24. Privat Livemont (1861-1936)

25. Theopile Steinlen (1859-1923)

26. This movement was called “art a la rue (art on the streets) Architect, Frantz Jourdain said, “posters could bring art to ordinary people and help uplift their aesthetic s well as moral taste.” Jordain thought that a rise in aesthetic knowledge would naturally lead to important changes in society that would bring about a better life for working people. )

27. Henri de Toulouse-Lautrec